Monthly Archives : August 2010

BILLY KARLOFF MEMORIAL GIG September 11th 2010 8.00 – 11.00 pm Doors open 5pm – midnight Scream Lounge 20 South End, Croydon, CR0 1DN 0208 667 0155 nearest train East Croydon Special appearances by Pedro Ortiz Neil Hay Mark Dawson Gareth Dean Glen Buglass Tickets £6 (includes entry into raffle) www.myspace.com/screamstudios www.billykarloff.co.uk tickets@billykarloff.co.uk BILLY KARLOFF & THE GOATS The history of Billy Karloff goes right back to the mid 70’s when guitarist/vocalist/songwriter John “Billy” Osborn played all over South London with bands like ‘Slippery Sam’, ‘The Punks’, ‘Scum Of The Earth’ and ‘Streamliner’. By 1977 he’d formed ‘Billy Karloff & The Goats’ along with guitarist Chris Pye (later of ‘The Books’), drummer Pedro Ortiz (who played with Bowie at Live Aid!) and bassist Ed Duane, though keeping a regular bassist proved difficult. They played The Roxy on quite a few occasions and following their appearance on “Farewell To The Roxy” they became the ‘Billy Karloff Band’ for April 78’s “Crazy Paving” / “Back Street Billy” 45 (Wanted Records, CULT45-001) and album “The Maniac” (SOS LP 2). By this time they’d added a second guitarist known simply as Julian. They became ‘Billy Karloff & The Supremes’ then (after a threat of legal action from The Supremes management) ‘Billy Karloff & The Extremes’ and secured a deal with Warner Brothers. By now the lineup featured Karloff, Neil Hay (guitar), Paul Jeiman (guitar), Dolphin Taylor (drums ex – ‘Tom Robinson Band’ later ‘Stiff Little Fingers’ / ‘Spear Of Destiny’) and bassist Glen Buglass. It was this incarnation that recorded the 1981 LP “Let Your Fingers Do The Talking” (K56394) and the singles “Headbangers” / “Don’t Keep Me Down” (K17753) and “Summer Holiday” / “It’s Too Hot” (K17818,) though a second album “The Vinyl Solution” remains unreleased to this day. Karloff then issued a “Stars On 45” style single under the name Frankie Lee called “It Ain’t Him Babe” (ZIM001) which was basically a medley of Bob Dylan songs! He then concentrated on song-writing and his credits include “Wait For The Blackout”/ “Dozen Girls” by ‘The Damned’ and “Anywhere But Here” / “Back Street Billy” by ‘The Business’

Grinderman Extra London Date The Coronet – 2nd October New Album Grinderman 2 Out 13th September 2010 “HERE COME THE WOLFMAN” The great Grinderman gamble paid off – Uncut This raw vivid album finds Grinderman carving out their own craggy identity – MOJO Rocking like a motherfucker, it’s an awesome recording – Loud & Quiet Due to strong demand, Grinderman have added an extra London date to their UK tour. Tickets for their show at The Coronet on 2nd October are now on sale. Grinderman’s UK tour kicks off at Nottingham’s Rock City on 25th September. The band’s new album Grinderman 2 will be released on Mute on 13th September and streamed on MySpace from 6th September. Heathen Child (the first single off Grinderman 2) is out on 6th September. Visit http://grinderman.com to download the Heathen Child radio edit version and to hear Super Heathen Child – Grinderman’s collaboration with Robert Fripp. The support band for Grinderman’s UK tour will be Sheffield’s The Hunter Gracchus: http://www.myspace.com/thehuntergracchus UK Tour Dates: 25th Sept. Nottingham Rock City £25.00 www.Alt-tickets.co.uk 27th Sept. Leeds University £25.00 www.leedstickets.com 28th Sept. Glasgow Barrowlands £25.00 www.seetickets.com 29th Sept. Manchester Academy £25.00 www.ticketline.co.uk 1st Oct. London Hammersmith Apollo £25.00/£27.00 www.gigsandtours.com 2nd Oct. London Coronet £25.00 http://www.coronettheatre.co.uk www.myspace.com/grinderman / www.grinderman.com / www.facebook.com/grinderman

4th - 7th AUGUST 2011 First of all - a BIG THANK YOU to everyone who made this years festival such a great one. We're always looking for suggestions on how to improve and what bands you'd like to see, so please get in touch via email or MYSPACE - we do read everything....... * NEXT YEARS TICKETS Tickets for 2011 are already on sale. We have made just 600 available at £80. Once they're gone, they're gone! This is a saving of at least £20. These Early Bird tickets are only available from REBELLION (see opposite). Cock Sparrer are confirmed for Rebellion next year. Seems crazy that it was 3 years since they last played - where has the time gone!!?? We're back at the Winter Gardens again so you can all start booking your hotels / B&Bs etc Despite what people think, Rebellion is still 100% DIY. Ticket sales and ticket sales alone pay for the bands, the venue, the PA, the lights, the security, the insurance etc etc..... So in addition to saving yourself money on the early ticket price, it also helps us get next years festival underway. We appreciate the community spirit amongst everyone at the festival, so thanks in advance if you buy early. More news on bands etc over the coming months. Until then, stay happy TEAM REBELLION WHEN: Thursday 4th - Sunday 7th August WHERE: The Winter Gardens, Church Street, Blackpool, Lancashire, FY1 1HL, UK TICKETS: See opposite or CLICK HERE ( http://www.rebellionfestivals.com/index.php?page=tickets ) ACCOMMODATION / TOURIST INFO: www.visitblackpool.com * ALL AGES * DESIGNATED SMOKING AREA * RE-ENTRY TICKETS ON SALE NOW! EARYL BIRD TICKETS - LIMITED TO 600 Weekend Price - £80 AVAILABLE FROM: REBELLION FESTIVALS Email: rebelliontickets@btinternet.com Call 02476 601678 (+44 2476 601678 from outside the UK) WE ALSO ACCEPT PAYPAL Please visit www.rebellionfestivals.com for more info Cheques / PO's payable to Rebellion Festivals. Please send with an SAE to: 205, Beake Avenue, Coventry, CV6 3BB Allow 28 Days for delivery.

FOLKESTONE SKABOUR FESTIVAL organisers are pleased to announce the final line up for the weekend of 3rd, 4th & 5th September.

This comprises 14 bands and 13 DJ’s over the course of the event with two free days of music at the harbour area and evening ticketed events at four venues across the town.

Additionally, there will be a Ska market and ‘show and shine’ of what the organisers expect to be up to 150 vintage scooters followed by an organised scooter ride-out around the town.

This is the first Skabour festival to be held in Fokestone and the vision of John (Teflon) Sims, a graphic designer who worked closely with Jerry Dammers of The Specials to create the imagery that represented the 2tone movement. John’s work will also be on display in three locations around the town.

Teflon says “putting on the first of any music festival is a journey into the unknown. The event is as much about supporting the Folkestone regeneration initiative as it is about the music. The town has fantastic potential as a festival venue both for local people and those from further afield, particularly now that with the high speed train from London, Folkestone is the nearest coastal resort in terms of time (51 minutes) from the capital. We want people to know what a great place this is… endorsed by the fact that it has been designated 17th best seaside town in the UK in a survey published this month”.

Music festivals can be fickle things financially and the challenges of keeping within budget, offering two free days of events and to do all of this on a not for profit basis has meant that the organisers have had their work cut-out.

Teflon says “were it not for all of the artists offering to support this event at reduced rates and expenses, or in many cases free of charge, the line-up would not look anything like as extensive as it does. So it is with tremendous thanks to them, sponsors and other supporters that we can put on such a fantastic show.

There has been a real interest and air of excitement about this festival combined with a resurging interest in Ska music”.

Teflon continues “However we are reliant on festival goers supporting the free daytime events by buying tickets for the Saturday evening acts. These include Rhoda Dakar (DJ set), Arthur Kay & The Originals, Intensified, Simian Artillery, The Swinging Cats and Scaredy Cats…It’s going to be some party!”

ORANGE JUICE 'Coals To Newcastle' the definitive seven disc box set to be released on November 8th 2010 Domino are very honoured to announce the upcoming release of a comprehensive seven-disc anthology of one of the finest groups of all time, Orange Juice. Coals To Newcastle will be released on November 8th in the UK and Europe and the following day in North America. The release will comprise of six audio compact discs and one DVD that will contain the band’s complete discography and other studio recordings as well as a collection of their BBC sessions. The DVD will contain the band’s two promotional clips for “Rip It Up” and “What Presence?!” (the latter directed by Derek Jarman), their four performances on The Old Grey Whistle Test and the rare posthumous concert video Dada With (The) Juice. In total, Coals To Newcastle contains 16 previously unreleased tracks with another 23 tracks previously unavailable digitally on earlier re-issues. In six tumultuous years, Orange Juice, led by Edwyn Collins, blazed a trail of self-reliance with the legendary Postcard label, ran in conjunction with then-manager Alan Horne, and greatly expanded the palette of independent music at the start of the ‘80s with their brand of literate pop songwriting that both pre-saged the coming of The Smiths and kickstarted a renaissance in Scottish pop music that continues to this day. After an embryonic start as the punk-influenced Nu-Sonics, Orange Juice came into being in 1979 as unfashionable pre-Year Zero punk influences such as The Byrds, Chic, Motown and The Velvet Underground began to make their presence known in the band’s developing sound. Over the next year, the group recorded four landmark 7” singles on Postcard (as well as putting out early releases from Aztec Camera, The Go-Betweens and Josef K). Though each single proved more successful than its predecessor, greater commercial aspirations led the band to sign to Polydor in the midst of making their first album in a prescient deal in which the band retained ownership of their material. The original lineup abruptly fell apart shortly after the release of the debut album, You Can’t Hide Your Love Forever, and, as quickly, the band’s future was decidedly unassured. However, with the addition of Malcolm Ross, formerly of Postcard labelmates Josef K, and Zimbabwe-by-way-of-Glasgow drummer Zeke Manyika, the group proceeded to make their commercial mark with the timeless funk and soul-inflected Rip It Up, whose title track was to be the group’s biggest UK hit, peaking at #8 in February of 1983. During the recording of a follow-up, the group had decided to head in a more rock direction, but creative tensions arose again and the group fell apart during the recording sessions from which the Texas Fever mini-LP was culled. With Polydor’s support of the group withdrawing, Collins, joined in the studio by Manyika, persevered to make the bittersweet swan song album, The Orange Juice, a collection that telegraphed the group’s impending demise amidst some of their finest recordings. Collins made it official in March of 1985 announcing mid-performance at a miner’s benefit at the Brixton Academy that it would be Orange Juice’s last performance. For a complete tracklist, please visit the following:: UK pre-order release page: http://www.dominorecordco.com/uk/albums/ 20-08-10/coals-to-newcastle-boxset/ US pre-order release page: http://www.dominorecordco.us/usa/albums/ 19-08-10/coals-to-newcastle-boxset/ The video for “Rip It Up” is on our Youtube channel - http:// www.youtube.com/watch?v=ESy-Z8vqMrE

We are delighted to announce that we are relaunching The London International Ska Festival. I promoted the first one back in 1988 at The Brixton Fridge with Laurel Aitken, Bad Manners, Potato 5, The Loafers, Hotknives, The Deltones, Napolean Solo, Capone and The Bullets and Skin Deep.

The next edition will be held at the beautiful Clapham Grand Theatre on Thursday 21st April through to Sunday 24th April 2011, and feature 23 bands and 9 boss DJs from around the world.

We are currently finalising the headliners and already have some fantastic exclusives lined up.

We are aiming to make this an annual event and showcase the finest global talent from the Jamaican originators, through 2 Tone and right uptodate with 21st century ska sounds.

Website will be launched shortly, along with the announcement of the headliners. If you’d like to be added to the festival’s mailing list and be the first to hear about tickets email enquiries@rockersrevolt.com and put London Ska Fest in the subject line.

KILLING JOKE RELEASE NEW SINGLE ŒEUROPEAN SUPER STATE¹ ON SEPTEMBER 20TH 2010 VIA SPINEFARM RECORDS UKŠ KILLING JOKE will release a new single on September 20th via Spinefarm Records UK; titled ŒEuropean Super State¹, this is the second single to be issued from this hugely influential UK outfit¹s forthcoming studio album, ŒAbsolute Dissent¹, now confirmed for a September 27th release, also on Spinefarm Records UK. ŒEuropean Super State¹ ­ the follow-up to ŒIn Excelsis¹, released back in July ­ features the original Killing Joke line-up (the first time these musicians have worked together in almost 30 years!), and will be available on CD and download complete with previously unreleased studio recordings & remixes. With a reputation forged in fire, brimstone and magic, Killing Joke have long been one of rock¹s most iconic outfits. Over the years, the band members have chosen to develop their talents in a variety of ways: triple Grammy winner Jaz Coleman, for instance, has established an international reputation working with some of the world¹s greatest symphony orchestras, whilst Martin ŒYouth¹ Glover has become one of the UK¹s most celebrated producers, supervising albums from the Verve & Primal Scream amongst others, as well as achieving major success as one half of highly-regarded duo, The Orb. Covered by Metallica, Foo Fighters and more, Killing Joke¹s apocalyptic vision continues to draw praise from such high-profile supporters as Jimmy Page and Billy Corgan, and the band¹s considerable musical legacy can be heard in the works of Nirvana, Ministry, Nine Inch Nails and the like ­ artists whose rise to fame never saw them cutting ties with the underground/alternative scene. Once described by drummer Paul Ferguson as Œthe sound of the earth vomiting¹, Killing Joke are now poised to take their music of resistance to a whole new level, both in the studio and on the road. October UK Tour Dates: 15th ­ Picture House, Edinburgh 16th ­ Hammersmith Apollo, London

Check out a video and photo galleries of the brilliant 2010 Rebellion festival now at www.bigcheesemagazine.com and dont forget to order Big Cheeses Rebellion festival special-onsale now with a Free 15 track punk cd including SLF, Cock Sparrer , King Blues and Sick of It All.

Its reported that Adam Ant has now completed work on his new album but there is no word on who or when it will be released. Written with Chris McCormack from 3 Colours Red and using members of Rachel Stamp Vive Le Rock will bring you more details on this very important release as soon as we get them.

THE LAST SUPPER TOUR In 2007, STEVE IGNORANT gathered some friends together and put on two shows at Shepherd¹s Bush Empire in London. Called The Feeding Of 5000, the show was a celebration of the Crass album of the same name, which was performed in its entirety. It most certainly was not a CRASS reunion, and never sought to be. The Last Supper tour will answer the calls that have come from around the globe in response to the Shepherd¹s Bush gigs. Steve will be celebrating the period of Crass¹ work with which he feels most closely aligned ­ the period when he feels the band were at their strongest, most productive and most hopeful. Steve will be performing with a full band. as well as featuring Crass songs (plus a few other favourites) there will be some rather special visuals. The touring line up includes Gizz Butt (guitar), Bob Butler (bass), Spike T Smith (drums), Beki (vocals) and of course Steve Ignorant (vocals). Having started in London in 2007, this new expanded show will now visit other parts of the UK, Europe, Japan and the USA before a FINALE in London in 2011. At which point the door will be firmly closed. The UK leg will begin in September: 24 Sep Bristol - O2 Academy 25 Sep Birmingham - O2 Academy 01 Oct Manchester - Academy 02 Oct Edinburgh - Liquid Room Please help us to spread the word and if you would like to go along to see one of the shows do not hesitate to get in touch. THE REST IS PROPAGANDA BOOK RELEASE SOUTHERN RECORDS <http://t.ymlp15.com/emavamjwagawseazahhe/click.php> are proud to present the timely release of Steve Ignorant's book The Rest Is Propagnda which will be available to buy throughout his tour and soon available through the Southern webshop. <http://t.ymlp15.com/ejaaamjwarawseadahhe/click.php> Being one of the founding members of Crass, it seems long overdue but we are so glad that we now have the chance to read Steve's story, in full. And after making a start on the book myself I can say that he is quite the storyteller. Steve will be doing all that he can to promote the book so do get in touch with me if you are interested in finding out more. Phone and face to face interviews can be arranged before the tour (and during if you are fortunate to be based in one of the cities that he is visiting)

TANK ARE BACK-BUT WITHOUT ALGY WARD?? WE WANT TO HEAR THE ALBUM THO-DETAILKS BELOW! FOR IMMEDIATE RELEASE Metal Mind Productions is proud to announce the release of a brand new studio album of the legendary TANK - â€œWar Machineâ€. Tank - featuring Mick Tucker and Cliff Evans on guitar alongside three new recruits, ex-Rainbow/Yngwie Malmsteen frontman Doogie White, ex-Bruce Dickinson bassist Chris Dale and ex-Zodiac Mindwarp drummer Dave 'Grav' Cavill - are back in action and ready to establish themselves once more as one of Britainâ€™s finest rock bands. The bandâ€™s seventh studio album is currently in the pre-production stage and, as the band claims: â€œwe think it's going to be our best album so farâ€. The production was handled by Pedro Ferreira (known from his previous work with The Darkness, Therapy?, Meatloaf) and the recording was done at Steve Harris' (Iron Maiden) Barnyard Studios. A demo version of one of their new songs, "Judgement Day", is still available to stream on Tankâ€™s official website on Myspace: http://www.myspace.com/tankheavymetal. Due to the changed line-up, â€œWar Machineâ€ will combine all the influences and experience of individual band members. Cliff Evans: â€œWe intend to make this a classic British rock/metal album that every fan should have in their collectionâ€. Full details on the artwork and tracklist to be announced soon. Metal Mind Productions set up the release date of â€œWar Machineâ€ for 25th October in Europe and 7th December in US (via MVD). Tank on-line: http://tankofficial.com

Midnight Mango present, at THE PALACE, BRIDGWATER Thursday September 23rd ONE OF THE MOST INFLUENTIAL SKA BANDS OF ALL TIME: THE BEAT Plus support from SHOOT THE MOON Any use in editorial or listings would be greatly appreciated. All listings info you require, can be found concisely under â€œSHOW DETAILSâ€ Further band & support bandsâ€™ Info, can be found under â€œARTIST DETAILSâ€ Please reply if you require further info or would like to go on the GUEST LIST -- Thx & Regards ****Midnight Mango Productions**** Matt Bartlett Durham Cottage, 11 Bath Rd Ashcott, Somerset. TA7 9QS T:+44(0)1458 210715 M:+44(0)7779 723061 E:matt@midnightmango.co.uk W:http://www.midnightmango.co.uk ï¿¼ ï¿¼ /////////////////////////////////SHOW DETAILS\\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\ Midnight Mango present, at THE PALACE, BRIDGWATER Thursday September 23rd THE BEAT Plus support from SHOOT THE MOON THE PALACE 25-27 Penel Orlieu, Bridgwater TA6 3PF Doors 8:00 pm. Standing show Tickets: Â£13 in Advance, subject to booking fee. West Quay Records, Bridgwater Martian Records, Taunton Tor Records, Glastonbury Tickets: 0871 2200260 Online: www.seetickets.com Online: www.ticketweb.co.uk /////////////////////////////////ARTIST DETAILS\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\\\ THE BEAT Genre: Ska Web: http://www.thebeatofficial.com/ Myspace: http://www.myspace.com/thebeatofficial Press Release: The Beat hailed from working class, industrial Birmingham, England. When The Beat rushed on to the music scene in 1979, it was a time of social, political and musical upheaval. Into this storm came The Beat, trying to calm the waters with their simple message of love and unity set to a great dance beat. Over the course of the next five years The Beat toured relentlessly and released three studio albums: "I Just Can't Stop It", "Wh'appen", and "Special Beat Service". The band toured the world, touring with such artists as David Bowie, The Police, REM, The Clash, The Talking Heads, The Pretenders, and The Specials, to name but a few. The Beat kept scoring hits with tunes that have now become so popular that it's hard to remember a time when they didn't exist, such as "Mirror in the Bathroom", "Save it for Later", "I Confess", "Stand Down Margaret", and their serene cover of Andy William's "Can't Get Used To Losing You". On February 10th 2003 The Beatâ€™s reunion gig took place at London's Royal Festival Hall. Ranking Roger along with Everett, Saxa, Neil and Andy were reunited with Dave Wakeling and Blockhead. The overwhelming success of the gig, encouraged Ranking Roger to resurrect The Beat, with his son Murphy accompanying Roger on vocals in place of Dave Wakeling. Saxa was eventually obliged to give up life on the road. However, the spirit of Saxa is still on the road and has left an indelible mark on this band. Having re-established The Beat in the UK, the band has had continued success with their tours of the UK, Ireland, Europe and Australia. Additionally Murphy aka Ranking Junior, has had combined success with The Ordinary Boys with their top 3 single â€˜Boys will be boysâ€™. At long last Roger and the boys have recorded the first album for The Beat since the early 1980â€™s. Currently being mixed by Adrian Sherwood the album is once again a work of pure brilliance by a band whose musical prowess has lasted 3 decades. SHOOT THE MOON (Bridgwater) Genre: Ska Myspace: http://www.myspace.com/shootmoon Facebook: http://www.facebook.com/shootmoon YouTube: http://www.youtube.com/watch?v=k3MArULieJ8 Press Release: In just 3 years Shoot The Moon have made one hell of an impact on the ska punk community, having played some massively prestigious show's and venues which include, The John Peel stage at Glastonbury in 2007 with such bands as Mark Ronson and The Gossip whilst having a record crowd for the slot too. Playing with the legendary Madness and DJ Scratchy in january 2008 with suggs saying "Shoot The moon kick bolix". The Band also went on tour for 2 weeks solid with the wicked Junction 27 playing venues as far as Newcastle, Weymouth and the famous Dublin Castle in London (Home of Madness). They also managed to Team up with Athena singer Gohkan to play their own song "For Real" with Guitarist Hakan in the crowd watching. Shoot The Moon have recently played with some awesome bands such as [Spunge], The Beat, Bad Manners, The Communicators, The Jb conspiracy, Skaville UK and Catch it kebabs.

Pigbag "Volume 1: Dr Heckle & Mr Jive" + "Volume 2: Lend An Ear + Pigbag Live" released on October 11th 2010 on Fire Records London's iconic Fire Records has been making quite a habit of re-introducing some of the most vital music from the past of late and this is no exception. Led by the dance floor anthem that rocked into the UK pop charts all the way to #3, "Papa's Got A Brand News Pigbag," a song that has since become a signature at football matches and television shows alike, Pigbag returns with the definitive collection of their output: Pigbag Volume One and Pigbag Volume Two, encompassing both of their full length releases "Dr. Heckle & Mr. Jive" and "Lend An Ear" along with a collection of their pulsing singles and b-sides and a clutch of amazing live performances. That should be just enough to hold you over for a few days as Volume's One and Two kick it up a notch with fresh mastered versions of stone cold groove classics that sound more at place with the current indie/world music resurgence than they ever have. Don't mistake them for a one hit wonder when you hear "Sunny Day" or "Getting Up" kick in, or "Hit The 'O" Deck" and their smoky live cover of "Smiling Faces." We can personally attest that these tunes are killer - one and all. Mixing punk, funk, jazz, ska, reggae and afrobeat into a bewitching brew - Pigbag delivers baby! The list of current tastemakers that owe them a debt of gratitude would take days to run through. This is hardly a simple re-issue, but rather a long needed re-introduction. ABOUT PIGBAG: Formed from creative jam sessions in punk's aftermath, the young group gathered steam after convincing Simon Underwood to join the fun following his departure from The Pop Group. Soon, the band would find themselves on Dick O'Dell's Y Records and naming themselves after early member Chris Hamlin's bag that he always carried. Cheekily naming their first single in reference to the Jame's Brown number, they delivered an instrumental classic of their own with "Papa's Got A Brand New Pigbag" and stormed the charts. Following with funky singles and the massive success of debut album "Dr. Heckle & Mr. Jive," they embarked on a tour that began to fragment the group, while also bringing several appearances on "Top of the Pops" and other highlights. All the while, "Papa" pounded relentlessly on the dance floor and the football terraces, culminating in a triumphant third showing on the Christmas edition of "Top of the Pops." For their second album, "Lend An Ear," the group would add vocalist Angela Jaeger and stretch their sound accordingly. The public remained transfixed on their earlier singles and never warmed to the change as quickly as the band would have liked, and soon they would decide to part ways. While the early work still makes one's pulse quicken, this second act deserves a fresh listen as it showcases an incredibly confident collection of players pushing the boundaries of where they had been before - with spectacular results. This isn't the only bit of excitement as the rumors are true, the band is currently rehearsing for shows in October and recording new material. www.firerecords.com

"... a nasty, worthless little record." Tony Parsons, NME 1978 Formed in 1977 by Steve Ignorant and Penny Rimbaud, Crass were an English punk band, which promoted anarchism as a political ideology, way of living, and as a resistance movement. Crass popularised the seminal anarcho-punk movement of the punk subculture, and advocated direct action, animal rights, and environmentalism. The band both utilised and advocated a "Do It Yourself" approach, producing sound collages, graphics, albums and films. "...it sounds as revolutionary and poisonous today as it did a quarter of a century before." Tommy Udo, Metal Hammer, 2004 Crass also criticised and attempted to subvert the dominant culture with messages promoting feminism, anti-racism, anti-war, and anti-globalisation. "...full of shit, spirited shit maybe, but let's face it, Crass? Precisely." Garry Bushell, Sounds, 1978 The band were critical of the punk movement itself, as well as wider youth culture in general. Crass promoted the type of anarcho-pacifism that eventually became more common in the punk music scene. They are also considered part of the art punk genre, due to their use of tape collages, graphics, spoken word releases, poetry and improvisation. "...one of the most influential bands in the history of rock." George Berger, Sounds, 1990 Crass disbanded in 1984, just as their cryptic catalogue numbers suggested they might. Before doing so, they altered the course of history. Without Crass, would "D.I.Y" have meant what it did to the record industry? (They were the first band to form their own label to retain complete artistic control, as well as political and legal responsibility for their work, and to print the price ("pay no more than") on the sleeve to prevent record stores from cashing in.) Would Banksy mean the same in the art world? (Crass used stencil art to decorate the streets and tube stations of London with though-provoking agit-propagandist work.) Would anti-globilisation protests be what they are? (Crass were lynchpins of the Stop The City demonstrations of 1983 and 1984.) Crass had their phones tapped, were raised as a question of national security in Parliament, conned a teen magazine into distributing their subversive message as a cover-mounted flexi-disc. Despite all of this, and having sold over a million and a half records, Crass are routinely written out of the rose-coloured nostalgia afforded to punk, rock, and their musical peers. Thirty years on, are people still afraid to look Crass in the eye? CRASS REISSUES The Crassical collection is finally here and the first release is the newly re-mastered The Feeding Of The Five Thousand which will be released on the band's own Crass Records. This seminal and influential album has been restored from the original analogue studio tapes, repackaged and bolstered by rare and unreleased tracks and stunning new artwork from Gee Vaucher (aka G Suss), who has lovingly breathed new life into her original work (feast your eyes below) Also coming out this year will be Stations Of The Crass and Penis Envy. STEVE IGNORANT TOUR AND BOOK This September Southern Records will be publishing Steve's autobiography The Rest Is Propaganda and will be selling it on his tour that is named 'The Last Supper' which he translates as "Crass songs 1977-1982 plus a few shocks, surprises, perhaps some slogans, but no tantrums and a bit of a laugh". The once-only tour, never to be repeated, cross-our-hearts-hope-to-die. Or to put it more simply, not to be missed. EXITSTENCIL RELAUNCH This year will also see the relaunch of Penny Rimbaud and Gee Vaucher's imprint Exitstencil, with a whole host of reissues and new music, book, and film projects to be released. This year Acts Of Love by Penny Rimbaud & Eve Libertine (their first post-Crass work) and Penny Rimaud and Louise Elliott's new work In The Beginning, as well as Vaucher's book Much Ado About Something will also see the light of day.

SEVEN10: THE SKINTS - Up Against The Wall Ltd Edition 7" picture disc (PREORDER) <http://cache1.bigcartel.com/product_images/25998987/The_Skints_A_Side_pic_ bigcartel.jpg> * <http://www.seveninchrecords.bigcartel.com/product/seven10-the-skints-up-aga inst-the-wall-ltd-edition-7-picture-disc-w-exclusive-postcard-set-preorder#> * £3.00 - On Sale Following the recent release of their awesome debut album 'Live, Breathe, Build, Believe' on Bomber Music / Rebel Alliance and a summer of UK festival shows including appearances at Reading & Leeds and Rebellion, The Skints next release will be on a lovely slab of heavyweight vinyl. We are releasing a very limited edition 7" picture disc to coincide with The Skints massive upcoming September to November UK Tour. The release contains 2 exclusive tracks: UP AGAINST THE WALL & WHERE THE RAGAMAN GO (Remixed by reggae legend The Mad Professor) ON PRESALE NOW!!! Not only does this 7" picture disc look awesome, every preorder will come with 4 exclusive postcards - each one designed by a member of the band (these are seriously limited items) & a free download code for both tracks. Preorder yours now!!! Delivery: The Official release date for the vinyl has been set at Oct 4th 2010, but all preorders will be sent out as soon as we recieve them from the pressing plant.

CYANIDE PILLS CYANIDE PILLS (Damaged Goods) Effervescent pop punk party from Leeds. 4/5 A spike-domed, pogo-pop sugar rush, Cyanide Pills consolidate on their well-earned live reputation and a pair of singles with a debut album of manic, pogoing energy. A self-titled 19-track burst of day-glo punk, it draws on the more tuneful exponents of the class of ‘77, marking the band as rightful descendants of the Boys and the Ramones. For once the raw, straightforward sound has been left alone on a punk album and it’s all the better for it. An authentically trebly assemblage of leather ‘n’ drainpipe jeans rock ‘n’ roll, the Pills’ debut is all fizzing wiry guitars and nagging two-minute alarm calls of teenage alienation, which alternate between dumb/smart political rants (‘Dictator’, ‘Conquer The World’), power-driven stormers (‘Interrogation Room’) and gawkily convincing youth-club romances (‘Only You’). Energetic and up for it, Cyanide Pills kick out a spirited Brit-punk rave-up like nobody’s business. Here’s a chord, here’s another – you know the rest. Hugh Gulland

Also Available: Conquer The World 7” Suicide Bomber 7” Break It Up 7”

ALLEGAEON FRAGMENTS OF FORM AND FUNCTION (Metal Blade) These guys can really play. 4/5 There’s little doubt that Allegaeon are a supremely talented bunch of individuals. Their brand of superior melodic technical death metal features some truly outstanding performances by the band members. Guitarist Greg Burgess has spent five years as the guitar instructor at the Music Institute of Lexington. The tremendous skills that Allegaeon possess means that ‘Fragments Of Form And Function’ is a refreshingly different melodic death metal album, full of strong songwriting and immense displays of musicianship. They also incorporate a fair amount of prog into the mix but it never feels forced or overlong. The production is a tad over-glossy but it merely serves to highlight the outstanding musical performance Allegaeon deliver. Paul Hagen

ANGELUS APATRIDA CLOCKWORK (Century Media) Intense Spanish thrash. 3/5 Angelus Apatrida were formed in rural Spain ten years ago and their two previous self-released album have helped to provide them with a sizable following in their home country. They may be a Spanish band but they sound pretty much like they’ve come straight out of the ‘80s Bay Area thrash scene. These bruisers riff hard and heavy and provide solid and sturdy thrash metal songs. ‘Clockwork’ suffers from a lack of variety yet the music on display is hard to argue with; it does exactly what you would expect. There’s also a slight NWOBHM influence on Angelus Apatrida’s third album, which is ably demonstrated on an adequate cover of Iron Maiden’s ‘Be Quick Or Be Dead.’ Paul Hagen

ARIEL PINK’S HAUNTED GRAFFITI BEFORE TODAY (4AD) Pop terrorist tries to paint the town… 3/5 ‘Before Today’ is something of a tricky album, simply because it throws so many styles into one giant melting pot – and not always with the best results. Tackling genres as diverse as ‘60s pop, funk, soul, ska, glam and punk, it’s probably not surprising. Opener ‘Hot Body Rub’ has an uneasy jazz vibe (similar to Soul Asylum’s ‘Stranger’) – which sits uncomfortably next to the breezy pop of ‘Bright Lit Blue Skies’. There’s no doubting Ariel’s talent – and on ‘Beverly Kills’ and the outstanding ‘Can’t Hear My Eyes’ he really shines – but ‘Before Today’ is just too inconsistent to be truly great. Rob Mair

BAD RELIGION 30 YEARS LIVE (Epitaph) Seminal SoCal punks still slay live. 4/5 Bad Religion helped to pioneer the ‘90s Cali punk sound with a string of albums of fast, intelligent songs. Ahead of their upcoming fifteenth studio album (due in September), Greg Graffin and co. remind us why they’re still a force to be reckoned with by unleashing a 17-track live record (that you can download for free from Badreligion.com). It includes career-spanning fan favourites recorded in LA this year, such as ‘Suffer’ (on this issue’s covermount CD), ‘American Jesus’, ‘Flat Earth Society’ and many more. It’s free and it’s awesome. What are you waiting for? Ian Chaddock

BEST COAST CRAZY FOR YOU (Wichita) Californian duo with a summer soundtrack debut album. 4/5 As delightful as LA duo Bobb Bruno and Bethany Cosentino’s string of singles released earlier this year were, you could be forgiven if you doubted whether or not their particular style – two or three minute songs mining surf rock and garage rock influences – could last for an entire album. Now that ‘Crazy For You’ has been unveiled, any doubts can be erased. Best Coast specializes in music that – much like summer – is bittersweet. You love the summer, and you’re having the time of your life, but in the back of your mind you know it’ll come to an end soon. Much like this fantastic debut. Michael Bednar

BETTY AND THE WEREWOLVES Teatime Favourites (Damaged Goods) Catchy indie/pop punk to sink your teeth into. 3/5 Fresh from the Camden Crawl, Betty and The Werewolves are three girls and a token bloke on drums from London and Cambridge playing the indiest indie music you’re ever likely to hear. If you took The Raincoats, The Slits, Kenickie, The Wedding Present and Kate Nash, shook ‘em all up in a big box marked ‘C86’ and poured ‘em all out the resulting sound would be something like Betty and the Werewolves. They’re twee as you like but in a good way, winning you over with cheeky lines like “Los Angeles is a long way from Ruislip” (‘David Cassidy’) and “you asked me if I like the Libertines, well who the fuck are they?” (‘Purple Eyes’). This music is sweet enough but thankfully not saccharine. Lee Cotterell

BITTER END GUILTY AS CHARGED (Deathwish) Everything about Bitter End screams (or shouts) hardcore. 3/5 From the raw black and white artwork, to the fact they’re signed to Deathwish, one of the most hardcore labels out there, Bitter End are clearly projecting an image of old school hardcore. Luckily their music is worthy of such an image and ‘Guilty As Charged’ is ten tracks of brutally delivered, metal-infused hardcore. They’re not claiming to be original (which is probably just as well, seeing as there is barely any fleck of originality here), but what you see is what you get. And that’s some pummelling, no-frills hardcore with enough grit and intent to be worth listening to. Sarah Maynard

BLACK CANDY STORE BACK TO THE WALL (7Hard) French rockers channel their inner circa-1990s Seattle. 3/5 Black Candy Store may hail from the south of France, but their debut album could have been recorded in Seattle. All the hallmarks of grunge are here – the angsty lyrics, the quiet-verse-loud-chorus dynamics and the crunchy guitars mixed with tender acoustic moments. Opener ‘Back To The Wall’ shows off the group’s rock side, while ‘Wounded’ is an exercise in dramatic power balladry. There’s nothing on this album that Alice In Chains or Soundgarden haven’t done, but it’s an enjoyable enough listen and Black Candy Store are no amateurs. With a little more time hopefully the band can find their own sound. Michael Bednar

BRUTAL DELUXE WALL OF DAMAGE (Chimerical) Genre-benders return to little fanfare. 2/5 Brutal Deluxe are one of those bands that have survived despite all hardships, though most people are unaware they even exist, which is a shame, because they can obviously play, and are adept at mixing styles like a blender, without giving a damn what people think of the end product. Their new record ‘Wall Of Damage’ goes through thrash, grunge, rock, and just about everything in between, though makes no real impression. The production is too thin and quiet, and while the performances are good, there’s just no invigoration. There are merits here, sure, but for the most part, the album is turgid and boring. Maybe next time… Bruce Turnbull

BRUTAL TRUTH EXTREME CONDITIONS DEMAND EXTREME RESPONSES (Earache) Re-release of genre-defining grindcore debut album. 4/5 Given Brutal Truth’s 2009 return to the fold with new album ‘Evolution Through Revolution’ after a 12 year recording hiatus, it shouldn’t come as too much of a surprise that former label Earache have decided to re-release their 1992 debut. It may be 18 long years since this album first hit, but it’s brutality and chaotic intensity is still peerless, with the rampaging aggression of ‘Time’ and ‘Denial Of Existence’. It’s still obvious just why they remain a guiding light of the grindcore genre. The inclusion of a bonus CD and DVD just helps to make this even more of an essential package for any fan of extreme metal. Nick Mann

BUTCH WALKER AND THE BLACK WIDOWS I LIKED IT BETTER WHEN YOU HAD NO HEART (One Haven) Butch tells it how it is. 3/5 The first thing that strikes you about this album is that it sounds like it’s had big bucks spent on it but was actually written and recorded in just five days! The big production feel comes from the orchestral swirls in places that fill this already impressive album (recorded in the famous Abbey Road studios and added due to the wonders of modern technology). Butch is an excellent lyricist that delves deeper than most into affairs of the heart and razor sharp observational cutting commentary all bundled into a very enjoyable album that is edgy despite the polish. Simon Nott

CHRIS SHIFLETT & THE DEAD PEASANTS CHRIS SHIFLETT & THE DEAD PEASANTS Foo Fighters guitarist takes a trip to the country. 4/5 Let’s get one thing straight – if you’re expecting something like the Foo Fighters (or even Shiflett’s punk band Jackson United) then this isn’t going to be what you expect. The Californian six-stringer embarks on a hazy drive down a roots/country road for this solo record, with nine tracks that clearly take influence from the likes of Johnny Cash, The Replacements and Eddie Cochran. From the uplifting ‘Get Along’ to the country swing of ‘Death March’ and the mandolin-infused ‘Bandaged’, this journey into Americana is a heartfelt and summery experience. Rachel Owen

COMEBACK KID SYMPTOMS AND CURES (Victory) All the best elements of Comeback Kid over the years rolled into one killer album. 5/5 Comeback Kid have gone through their fair share of changes over the years, not least vocalist Scott Wade leaving the band following fan favourite ‘Wake The Dead’ and guitarist Andrew Neufeld stepping in on vocals. 2007’s ‘Broadcasting…’ showcased Neufeld’s more versatile vocal stylings but with ‘Symptoms And Cures’, he’s now more comfortable as the voice of the band. The result is a blistering, fast-paced record that incorporates the depth of sound that CBK have learnt to craft with the straight-up hardcore sensibilities on which their band was first built. Gang vocals, passionate melodies, searing guitar riffs. What more could you want? Sarah Maynard

DARKER MY LOVE ALIVE AS YOU ARE (Dangerbird) Latest album evokes spirit of ‘60s/‘70s rock ’n’ roll. 3/5 Recorded at San Francisco’s legendary Hyde Street Studios, it’s no surprise that Darker My Love’s third album draw on the sound of psychedelic California rock circa Jefferson Airplane and The Byrds, as well as the Beatles and Dylan. They strip away the fuzz and distortion heard on their previous records to show us a more vulnerable side. Intricately arranged and emotionally heavy, standouts include ‘18th Street Shuffle’, a groovy, grungy track with synth and the clavinet, and ‘Rain Party’, a captivating song with Azure Ray’s Maria Taylor’s haunting vocals blending beautifully with singer Tim Presley. Raw and exposed, Darker My Love give us their strongest album to date. Caitlin Peterkin

THE DEEP EYNDE SPELL*BOUND (Fiendforce) Brooding goth rock. 3/5 Hollywood band The Deep Eynde have a nice line in subdued goth songs and this album is certainly an atmospheric listen. Singer Fate Fatal has a distinctly melancholic delivery and, while in no means a miserable album, ‘Spell*Bound’ has a nicely gloomy sound to it. There are a few strong tracks on here but the album as a whole gets dragged down by a distinct lack of energy. Over the course of its 15 tracks, the pace rarely increases past second gear. But I guess that’s the point. As far as goth albums go, it’s perfectly passable but it’s unlikely to have too much appeal beyond The Deep Eynde’s current fan base. Paul Hagen

THE DESTINY PROGRAM GATHAS (Bastardized) Fourth outing from the melo-metalcore stalwarts. 3/5 Certainly more uplifting than most of their contemporaries, German metallers The Destiny Program follow up their lauded 2007 release ‘Subversive Blueprint’ with the equally as captivating ‘Gathas’, an album that sits somewhere between Poison The Well, Cult Of Luna, and Sonic Syndicate. A potpourri of harsh to clean vocals, melodic guitar leads, and atmospheric synths, tracks like ‘Avesta’ find the band in full creative swing, raising melancholic atmospheres from their tortured manifestos. The melody in their sound comes from the instrumentation, although there are a couple of good hooks. Still, there is nothing here to surprise or inspire. Bruce Turnbull

THE DESTRUCTORS/THE BLACK MARIAS ZENGUKEREN (Rowdy Farrago) Peterborough punk times two. 3/5 Paving the way for their ‘Dead Beat To White Heat’ full-length (which hits shelves this August), old school scuzz punks The Destructors return with another knuckle-happy split EP to add to the rap sheet, this time sharing the play time their hometown compadres The Black Marias. A rambunctious release as per usual with Oi boys the Mariah’s adding a more melodic, early Rancid-esque quality to the mix; the 7 songs featured are brash, opinionated and include a brutish Dead Boys cover and spanking new tracks for both bands. A definite pick-up for fans of the D boys or of street punk in general. Tom Williams

DEVO SOMETHING FOR EVERYBODY (Warners) Welcome comeback album from the idiosyncratic new wavers. 5/5 A bit of an occasion this one: ‘Something For Everybody’ is Devo’s first album in two decades, and the first album on which the Ohio conceptualists have given outside parties any kind of free rein on the production. However, the jittery electronic rhythms, funny/smart lyrical twists and jerky stop-start pulses all spell classic Devo, while the input of a cast of well-picked collaborators steers the music well clear of retread territory. ‘What We Do’, ‘March On’ and the hilarious ‘Don’t Shoot, I’m A Man’ are worthy additions to the Devo repertoire, sparking with weird mechanical energy and incisive verbal satire, further proof, should you need convincing, that De-Evolution is upon us. Hugh Gulland

DIRTY LITTLE RABBITS DIRTY LITTLE RABBITS (The End) Debut release from the brainchild of Slipknot’s bin banger. 4/5 Dirty Little Rabbits, the creation of Slipknot’s Shawn (Clown) Crahan has seen him take a daring departure from his day job. Their stripped back self-titled debut is an amalgamation of gutsy female vocals from mid-‘90s starlet Stella K, spiralling organs and channelling guitars. From the effortlessly graceful ‘Hello’ to the claustrophobic ‘Professional Hit’, it’s an accomplished release. Anyone hoping for a Slipknot-esque sound will be sorely disappointed – this is a completely different story. Dirty Little Rabbits’ music speaks for itself. This debut has been seven years in the making, yet good things come to those who wait. Ben Connell

DIRTY SWEET AMERICAN SPIRITUAL (Acetate) As classic rock as you can get. 3/5 Dirty Sweet’s follow-up to 2007’s ‘Of Monarchs And Beggars’ sees them expand further on their classic American rock sound, taking in ballads, blues and country. It’s an exceptionally polished album and the band are clearly excellent musicians. Sprinkled throughout the album are a number of catchy, hard-hitting songs, such as opening track ‘Rest Sniper, Rest.’ The trouble is that these moments are too infrequent and means that the album occasionally becomes ponderous and, to a certain extent, a bit dull. It would have been nice if they’d kept their foot on the accelerator a bit more. Still, Dirty Sweet are probably one of better current day exponents of classic rock. Paul Hagen

THE DISSOCIATES WAITING FOR THE BACKLASH (Tap-Ass) Tight post-punk EP from talented London boys. 4/5 It’s rare that you hear a band that’s so unmistakeably English and also so clearly influenced by the US post-punk and post-hardcore scenes from over the years. They tackle subjects such as urban decay and politics on the likes of ‘Welcome To London’ and ‘On The Motorway’. The punked up ‘Left Of Centre’ shows their more aggressive side whereas the choppy ‘Under Heavy Manners’ is a retro, fuzzy garage rocker. If you like bands such as Fugazi, Mission To Burma and The International Noise Conspiracy then this six-track EP needs to be listened to. You can download it for free too so hit up their site and discover a band still pushing forwards. Rachel Owen

DRAGSTER Here Come The Meat Robots (STP) Another shot of low-down dirty punk ‘n’ roll anyone? 4/5 Coventry’s finest exponents of sleazy punk ‘n’ roll finally deliver the follow up to their 2006 debut and it’s well worth the wait. A change of rhythm section hasn’t affected their sound much; they’re still channelling Motorhead and Mudhoney through a garage punk filter and vocalist Fi still snarls her words with that ‘don’t mess with me’ attitude. It’s good to hear live favourites like ‘Creature from the Black Lagoon’ and ‘Kill Voodoo Kill’ captured in a studio at last but it’s not all monsters and serial killers, mind you. They take a break from their customary Sci-Fi/Horror/B-Movie fixation to get ‘Drunk’, have a pop at a ‘Weekend Punk’ and stray into Dead Kennedys territory on the title track. A bourbon soaked work of art. Lee Cotterell

EMAROSA EMAROSA (Rise) A near perfect release from a band about to hit the big time. 5/5 You get the impression that Kentucky’s Emarosa are on the cusp of something great, and their eagerly anticipated second album could be the one that launches them into the big league. Having released their 2008 debut ‘Relativity’ to mixed responses, the band know that album two could make or break them. Luckily for them, it should be the former. Jonny Craig’s vocals are what really set Emarosa apart – unique, effortless and intense. The aptly named opener ‘A Toast To The Future Kids!’ is nothing short of perfection, and the remaining nine tracks pave the way for a very bright future, indeed. Ben Connell

END OF A YEAR YOU ARE BENEATH ME (Deathwish) The most intelligent hardcore album in years? 4/5 Sitting on the edge of a genre as constrained as hardcore, End Of A Year have done something pretty special in making an album that might appeal to more indie kids than it would hardcore aficionados. Measured, intelligent and beautifully-crafted – but still edgy and aggressive – ‘You Are Beneath Me’ is a triumph of musical accomplishment. Sounding something like a cross between The Hold Steady, Bane and Christiansen, this NY-based group combine raw emotion and proficient technicality to great effect. Throw in killer lyrics (spoken-word opener ‘Composite Characters’ is almost poetic) and it’s easy to see why End Of A Year are garnering high praise. Rob Mair

EVERYONE EVERYWHERE EVERYONE EVERYWHERE (Tiny Engines) Flawed debut shows much promise. 3/5 Everyone Everywhere may be from Philadelphia, but their songs make them sound as if they were straight out of California. The album brings to mind lazy, aimless August afternoons, when life is still moving slowly but the reality of responsibility is hovering in the back of the mind. The lyrics are hazily sung and at times indecipherable, and the songs sound clean and sharp without being overproduced. Everyone Everywhere are technically excellent musicians, but the songs sound dangerously similar to each other. At times, it seems the band is trying a little too hard to deviate from the typical pop song structure, but with a little work the band could get it right. Michael Bednar

EXIT INTERNATIONAL SEX W/ STRANGERS (Undergroove) The doubled bass assault amplifies the intensity of the rock. 3/5 Two bassists and a drummer fuel this band. Strange huh? But they manage to flesh out their sound with all sorts of beats and ‘toys’. Essentially, the bass-heavy trio come up with gritty rock, enthused with yelps in all the right places and promising decimating live performances. This EP is four tracks of potentially crushing material that begs to be experienced in a live setting but is also a fun rock ‘n’ roll experience in its own right. Aptly titled ‘Sex W/ Strangers’, you’ll feel a bit like you’ve done something naughty with someone you knew nothing about after listening to it. Sarah Maynard

THE FALLTHROUGH AS THE DAY BREAKS (Lockjaw) Debut mini-album from Brighton punks. 3/5 Influenced by the likes of the Bouncing Souls and Strike Anywhere, this four-piece’s first release of 2010 is a fun and exuberant listen. Consisting of former members of Once Over, Ragweek and A Man Down, they’ve certainly paid their dues and toured all over the world off their own backs last year. This love of life and determination shines through on anthemic melodic punk tunes such as ‘Easy To Forget’ and the EpiFat-esque blitz of ‘Life In Red’. If you like your punk fast and melodic then you need to check out this mini-album. Rachel Owen

FOR ALL THOSE SLEEPING CROSS YOUR FINGERS (Fearless) For fans of A Day To Remember… 4/5 ‘Cross Your Fingers’ is the debut album from Minnesota five-piece For All Those Sleeping. They combine pop punk with hardcore, and it sounds awfully similar to A Day To Remember. The beginning of ‘The Midnight Society’ is almost identical to ADTR’s winning combination of hardcore beatdowns and sunny pop punk. But nevertheless, the songs are great in the main, and ‘Outbreak Of Heartache’ and ‘If I Wanted Your Two Cents I’d Rob You’ are highlights. They’re outrageously catchy and undeniably enjoyable, so despite their unoriginality, they are still very much worth checking out. Lais Martins Waring

FORLORN THE ROTTING (Rising) Dark British metal from Birmingham newcomers. 3/5 Kicking off with a riff that could have graced ‘Scream Bloody Gore’ is a good start for West Midlands quartet Forlorn, a band that flirt with early death metal in the Death and Autopsy vein, but also keep things modern with a touch of metalcore in their instrumental breakdowns (and the occasional growl). Essentially, the band’s fibrous debut ‘The Rotting’ is a classy affair, full of thick, nasty riffs and headbanging double-kicks. Production is clear, illuminating all aspects, and the song writing is of a particularly high standard, keeping the listener on their toes. With this amount of potential, album number two could be a real eye-opener. Bruce Turnbull

FRENZY IN THE BLOOD (People Like You) UK psychobilly veterans unearth something special. 4/5 This is the album that Frenzy have always wanted to make, in fact they had already made it before PLY snapped them up. Their heritage is steeped in psychobilly but they have always pushed the boundaries, too far for fans on some occasions, but times have changed. The basic running gears of psychobilly are there – double bass driven as in the past – but their lyrics go far deeper than the genre is associated with. They do allow a little escapism to creep in with out-and-out rocker ‘Johnny Rocket’. Frenzy rock like crazy here and capture their live energy. Check out ‘Hero’ on this month’s BC covermount CD. Simon Nott

GENTLEMEN OF DISTORTED SOUND BONE IDOL EP (Bare Knuckle) Meat and potatoes hard rock anyone? 2/5 Formed in 2006 by Dublin-born Gareth Nugent (yes, he IS related to Ted Nugent) this is Gentlemen of Distorted Sound’s debut EP, the result of years perfecting their line up, losing a drummer to Uriah Heep along the way and honing their sound. We’re talking highly polished hard rock, the kind you hear in sweaty bars all over the world on any given Saturday night. Things kick off with ‘Electric’ which could be an outtake from The Cult’s late Eighties output followed by ‘Beautiful Face for Evil’. ‘No Gods’ has a hint of ‘Kashmir’, followed by a cover of ZZ Top’s ‘La Grange’ all topped off with the grunge lite of ‘Breathe’. If all this sounds like your bag, by all means knock yourself out. Lee Cotterell

GIRL IN A COMA TRIO B.C. (Blackheart) Pleasing all-girl pop punk. 3/5 This female trio from San Antonio, Texas comprise of sisters Nina and Phanie (careful, you innuendo fans) Diaz, on vocals/guitar and drums respectively, with bassist Jenn Alva, and were apparently named after the Smiths song ‘Girlfriend In A Coma’. Hell, they’ve even done tour support for His Miserableness. So, if you add in the fact that they’re on the delectable Joan Jett’s label, these ladies would seem to be in a good place. Nina’s voice has an endearingly eccentric warble to it, and though this second album has straightforward punk tracks like ‘Slaughter Lane’, the band are strongest with strident, complex pop songs like ‘In The Day’. Shane Baldwin

GOOD RIDDANCE CAPRICORN ONE (Fat Wreck) Californian melodic hardcore punks’ singles and rarities. 3/5 Having split in 2007 after 16 years together, Good Riddance were always underrated and their driving melodic hardcore was ahead of its time. This 21-track collection combines their singles, split songs and six previously unreleased tracks, as well as a commentary about each song by vocalist Russ Rankin. There’s not a bad track on here (and there’s definitely a few belters, such as ‘Always’ and ‘Stand’), making this a decent release to either complete your GR collection or discover their much missed brilliance for the first time. Ian Chaddock

GOO GOO DOLLS SOMETHING FOR THE REST OF US (Warner) Stadium rockers return with another collection of anthems… 3/5 Nine albums into their stellar career, John Rzeznik and co. have little reason to change a formula that has already brought them countless awards and sold squillions of records. And indeed, they stick close to their winning recipe here. Heartfelt but never cloying, honest but never passionate and bombastic rather than explosive, ‘Something…’ is what you’d expect from a band now well-entrenched in the psyche of Middle America. That’s not to say it’s bad, just safe. ‘Hey Ya’ and ‘Home’ are uplifting and inspiring, and its testament to their songwriting skills that this tried and trusted sound is still interesting and appealing. Rob Mair

HAWKWIND BLOOD OF THE EARTH (Eastworld) Interstellar trance-rock from the hippie veterans. 3/5 ‘Are they still going?’ was a question reviewers were probably asking of the Hawks 25 years ago, and while line-ups have come and gone – they famously once included a pre-Motorhead Lemmy in their ranks – Hawkwind plough inexorably on. Long time ambassadors of hippie-squat anti-authoritarianism, Dave Brock and co. continue their lifelong hard-riffing space-rock mission. Electronic swoops and squawks battle it out with warp-drive guitar and drums, with occasional ambient interludes. It may all add up to a themed sci-fi opera of some description, but it does sound exactly and reassuringly like Hawkwind, and that‘s no bad thing. Time just doesn’t seem to exist for them. Hugh Gulland

HELLYEAH STAMPEDE (Spinefarm) Ex-Pantera sticksman’s new band’s second album. 3/5 Featuring members of Pantera, Mudvayne and Nothingface, Hellyeah are somewhat of a metal supergroup. Sadly the Texas quintet’s self-titled 2007 debut fell a bit flat but this sophomore album shows a marked improvement in songwriting, with the likes of Southern riff lickin’ opener ‘Cowboy Way’ and strip joint anthem in waiting ‘Pole Rider’ (“She’s not built for comfort/She’s built for speed”) both hitting the mark. Unfortunately the second half drags and becomes a little repetitive but, while it’s not yet a stampede, this could be the start of the charge. John Damon

HORSEBACK THE INVISIBLE MOUNTAIN (Relapse) North Carolina stoner rockers second album re-released. 3/5 With the third Horseback album on the way, brainchild Jenks Miller sees his sophomore effort re-issued through new label Relapse. It’s a welcome re-release too, as this psychedelic stoner journey is one that should be taken by more metallers looking for something a bit more intelligent than knuckle-dragging chug-fests. Heavy as fuck and with a sludgy intensity, it’s the sound of Miller battling his demons and one that fans of the likes of Neurosis will certainly enjoy. Roll on album number three, I for one can’t wait to hear more of Miller’s weird and wonderful work. John Damon

INDICA A WAY AWAY (Nuclear Blast) Finnish band’s latest release full of quirkiness and oddity. 3/5 This album’s cover art depicts the band standing in a forest and it sounds like that’s where this band wrote this ‘A Way Away’. Some listeners may be put off by how whimsical the whole thing is – with swelling strings, bells, odd wind instruments, lyrics that sound ripped from a diary and references to Guinevere and Sylvia Plath in the same song – but there’s no denying that Indica know how to craft a great pop tune. They sound like they’re having a great time and their infectious energy makes up for some of the album’s more over-the-top moments. Michael Bednar

IN THIS MOMENT A STAR-CROSSED WASTELAND (Century Media) Third album from Californian female-fronted metallers. 3/5 In This Moment have enjoyed success Stateside but are sadly best known for being fronted by metal pin-up Maria Brink here in the UK. Which is a shame because here ITM combine the metalcore of their debut with the soaring melodies of their sophomore effort, resulting in a varied listen. However, the fact that this is somewhat of a Western concept album seems a little strange (considering the last record was based around ‘Alice In Wonderland’) and the likes of ‘Gunshow’ seem a little forced. However, the vicious ‘Just Drive’ and piano ballad ‘World In Flames’ shows Brink and the boys’ ability and proves they should still have their moment. Rachel Owen

JETTBLACK GET YOUR HANDS DIRTY (Spinefarm) Rock of the past…today! 3/5 Following a UK tour earlier this year, Jettblack unleash their collection of retro rock anthems. Heavily influenced by the likes of Skid Row and Motley Crue, and with song titles like ‘Two Hot Girls’ and ‘Mother Fucker’, you can probably guess what you’ll be getting. To be honest, it isn’t really that bad. The production is pretty slick, and there’s a healthy dose of humour in there, with lyrics like “I know she’s your sister, but I can’t pretend/When it comes to lovin’, I have no friends”. It’s a fun album, but I can’t imagine this band going further than one album with this shtick. Tracey Lowe

JOHNNY GET THE GUN JOHNNY GET THE GUN (JGTG) Debut by pop punkers shows great promise. 3/5 Essex trio Johnny Get The Gun are by no means trailblazing, but with their debut EP they prove that they’re more than capable of creating good music. While the songs nod to past artists, they’re free of the melodrama that sinks other pop punk bands. ‘All Good Things’ and ‘This Night To End’ are showcases of the band’s emotional, melodic side, while ‘You Will Be Mine’ (which you can hear on this month’s covermount CD) and ‘Give You More’ prove they can rock out too. It may be a little rough around the edges, but it’s in a charming way. Definitely a band to watch. Michael Bednar

JUST SURRENDER PHOENIX (LAB) Third effort by band likable enough, but nothing new. 3/5 Just Surrender believe in the concept of self-fulfilling prophecies. This fact is obvious from their song titles: ‘Carried Away,’ ‘Burning Up,’ ‘Lose Control.’ Perhaps they thought the dramatic titles would make the album more exciting. The band’s third album, ‘Phoenix,’ is by no means a bad one, but it’s nothing the listener hasn’t heard before. Filled with catchy pop hooks, driving guitar riffs and the nasally vocals endemic in the pop punk world, the album is enjoyable enough, despite the cringeworthy lyrics. “I’ve seen things no man should ever see,” cries the lead singer – you’d think he was singing about genocide rather than a broken heart. Michael Bednar

THE KIRKZ AGROCULTURE (TNS) Virulent punk rock booty from Cheshire East’s finest. 5/5 After a dozen years scraping the circuit, Macclesfield four-piece The Kirkz are seasoned in the financial drawbacks of the punk rock pursuit, but you can bet it hasn’t stifled their momentum, or their creativity for that matter. Marking their fifth release overall and their biggest to date, ‘Agroculture’ is a true product of the ‘Punk-O-Rama’ generation and tours a socio-politically vibrant landscape atop a punchy third wave backing. Loaded with fast, tongue-in-cheek tracks with a definite Gilman Street air and delivered with melodic satisfaction, it’s a wonder the States haven’t snapped these farmer boys up yet. Perhaps it’s just a matter of time? Tom Williams

LITTLE FISH BAFFLED AND BEAT (Custard/Universal) ‘70s New York-loving retro rock sounds from Oxford duo. 4/5 It’s obvious from boisterous, soulful and raw opener ‘Darling Dear’ that Juju Sophie (vocals/guitar) and Nez Greenaway (drums) are big fans of the cool-as-fuck female-fronted post-punk US bands. In a similar vein to Juliette Lewis And The Licks and The White Stripes, it’s a sound that harks back to a time when rock ‘n’ roll was sensual and visceral in equal measure and on the powerful ‘Bang! Bang!’ and Lou Reed-esque, piano driven ‘Sweat N Shiver’, it shows that this is a versatile pair. Little Fish’s future is bright and Juju Sophie could well be a star in the making. Rachel Owen

LOCATORS LOCATORS (Heptown) Attempted tribute to ‘70s punk falls flat. 2/5 These days, it’s not uncommon for modern artists to take styles and influences from prior decades and create something fresh and new out of what’s already been done. Others simply regurgitate what’s gone before them, without any element of innovation or change, and on their debut album Locators fall under the latter category. Despite their black leather jackets and song titles such as ‘Razorblade’ and ‘Demons Coming My Way’, you get the sense that this album is more of a tribute to the greats of the past than a work meant for a long shelf life. For much of the album, the band sounds as if they haven’t got their heart in it. Michael Bednar

LUCIFER STAR MACHINE STREET VALUE ZERO (Nicotine) Violent punk ‘n’ roll sophomore album from London brawlers. 4/5 “Kick in the bollocks/Slap in the face”, shouts LSM vocalist Tor Abyss at the start of ‘City Low Life’, one of the album highlights (on the covermount CD), setting the tone for the rest of this low down and dirty second album. If you’re looking for polished tunes look elsewhere but if you’re after gutter-dragging gritty anthems such as ‘Devil On A Rampage’ and ‘Pussy Champagne’, coming on like G.G. Allin and Motorhead in a drinking contest, then this is for you. A varied album, it incorporates elements of psychobilly and hardcore into its maelstrom of chaos. This is the rise of the ‘Machine. John Damon

MADNESS KEEP MOVING (Salvo/Union Square) The Nutty boys revisit their sober years. 4/5 Marking the fifth release in Union Square’s revamp series, Madness’ 1984 cut ‘Keep Moving’ saw the Camden collective shelve a hefty portion of their baggy trouser wearing playground mischief in favour of a subtler, more matured approach. Arguably foreshadowing their later demise, the album marks the departure of keyboard whizz Mike Barson (until his ’99 return) and its sombre overtones are consequently echoed in the singles ‘One Better Day’ and ‘Michael Cane’. Perked up slightly by US single and romcom mainstay ‘Wings Of A Dove’, the reissue follows the usual formula, including the original album, promo videos and bonus tracks, spread over a lushly presented two disc package. Tom Williams

MAGIC KIDS MEMPHIS (True Panther) Twee indie pop that lacks the tunes. 2/5 This is a perfectly harmless release. The wimpish delivery has touches of ‘The Boy Least Likely To’, with moments of dream pop softness. ‘Superball’ has a substantial chorus but mostly the recording methods lack punch and energy. This is a young band, and in the string arrangements there are moments that pay tribute to the Beach Boys, Beulah or the Elephant Six Collective, but the melodies just don’t quite have the mix to wrench at the heart. It’s too simple and lacks genuine melancholy. Jonathan Falcone

MASTODON JONAH HEX (Reprise) Digital release of EP soundtrack from Atlanta prog metallers. 4/5 The movie adaptation of popular DC comic series ‘Jonah Hex’, the story of one man’s struggle between good and evil, seems to be the perfect first outing into soundtrack territory for fantasy-obsessed prog metallers Mastodon. The EP features four new tracks – ‘Death March’, ‘Clayton Boys’, ‘Indian Theme’ and ‘Train Assault’ – as well as two alternate versions of the first two. Recorded by viewing movie footage and writing spontaneously in the studio, this EP proves that Mastodon can pen epic, heavy soundscapes at the drop of a (cowboy) hat. Another worthy addition to their catalogue. Ian Chaddock

MOGWAI SPECIAL MOVES (Rock Action) Live album showcases considerable talents of experimental Scottish band. 4/5 Singing? Mogwai don’t need no stinkin’ singing, as they demonstrate on this CD/DVD recording of highlights from three concerts they performed in New York City in April 2009. Through meandering instrumental pieces, Mogwai are able to convey incredible emotion. The songs on this collection, all performed impeccably, are culled from Mogwai’s entire body of work and manage to evoke everything from a dark and dreary city street populated with lowlife denizens, to a sunny picnic on a spring day. ‘Mogwai Fear Satan’ is especially powerful, building slowly over the course of several minutes to a crashing, euphoric finale. Michael Bednar

MONICA AND THE EXPLOSION SHUT UP! (Hands Up) Sassy Swede + Paul Slack + acoustic punk = jolly good time. 3/5 Acoustic punk? From Sweden? With the ex-drummer of punk legends U.K. Subs? It may sound like a gimmick, but one listen to the album and any of those notions are dispelled. Monica Welander is the frontwoman of this three-piece band, and she’s got enough sass to pull the album together. Songs like ‘Take It Or Leave Me’ and ‘Shut Up’ are fiery musings with a little bit of Joan Jett attitude thrown in. The album might be a little rough around the edges but that only adds to its charms. Let this explode out of your stereo and enjoy! Michael Bednar

NONPOINT MIRACLE (Powerage) Reliable old Nonpoint. 3/5 Nonpoint are back with a new guitarist, new management, a new label and a brand new album. But the Ft. Lauderdale’s quartet’s eighth album continues in much the same vein as their previous albums; it’s packed full of anthemic, driving metal that sounds comfortable on daytime radio. Mudvayne/Hellyeah’s Chad Gray and Greg Tribbett give ‘Miracle’ a slick production that allows the band to play to their strengths. Nonpoint even manage to make Pantera’s ‘5 Minutes Alone’ their own. Singer Elias Soriano has an extremely impressive voice and it’s shown to full effect on the three bonus acoustic tracks. The addition of those three tracks mean that ‘Miracle’ has 16 songs and runs for far too long, however. Paul Hagen

PARANOID VISIONS BLACK OPERATIONS IN THE RED MIST (Overground) Not so modest Irish punks. 4/5 Here we have a very weighty double CD set from long-standing Irish punks Paranoid Visions, covering their whole career from 1982 to the present day, with one disc entitled ‘Black Operations’ and the other ‘In The Red Mist’. No less chunky is the 20-page booklet which tells a tale of inter-band bickering and music-biz woes that are even more bizarre than most, including a court case over the use of their song ‘Beauty Queen’ in the movie ‘The Commitments’, sadly not included here. 39 tracks of arrogant, self-assured punk rock, even if you’re not always sure what they’re getting at. What’s not to like? Shane Baldwin

THE PERFECT CRIME EVERYTHING ELSE CAN WAIT (Speechless) Aptly titled debut album for fans of melodic hard rock. 3/5 ‘Everything Else Can Wait’ proves that rocking doesn’t have to mean all anger and aggressive playing and no melody. ‘Are We There?’ and ‘Deliver Me Your Sins’ mix gentler moments with hard-driving guitar riffs and tortured vocals. Maintaining this delicate balance throughout, the album is all the better for it. The Perfect Crime might not be the most original band in the world but the album is reflective of past influences rather than outright derivative, and their debut is an indication of good things to come. Michael Bednar

POLICE BASTARD IT’S GOOD TO HATE (Iron Man) Powerful Midlands punks. 3/5 Even by the standards of your average long-standing punk band, the personnel turnover of Police Bastard since they formed in Birmingham in 1994 has been pretty staggering. The pedigree of those members has been somewhat impressive as well, with various Police Bastards turning out, at various times, for the likes of Doom, Rubella Ballet, Sensa Yuma, Contempt, English Dogs and The Prodigy. You can guess who did the last two, surely? Anyway, after a lengthy hiatus, the band reformed in 2006 and continue to deliver hardcore/grindcore in its most virulent form, as these two discs of studio and live material ably demonstrate. Shane Baldwin

RUBELLA BALLET NEVER MIND THE DAY-GLO HERE’S… (Overground) Anarcho but fun. 4/5 Worthy as the ’80s anarcho punk movement was, it was also often dour, dreary and severely monochrome. So, when Rubella Ballet bounced on the scene, no less politicised or committed, but draped in bright colours, it really was a breath of fresh air. Carrying on from Overground’s ‘Anarchy In The U.V.’ CD (covering the band’s early days) this collection includes the ‘If’ album and ‘Arctic Flowers’ single, both released by Ubiquitous in 1986; and the ‘At The End Of The Rainbow’ album, which came out on Brave in 1990, along with Jungle’s 1984 single ‘4f’, all remastered and with a suitably, er, day-glo booklet. Go on, cheer up you miserable buggers. Shane Baldwin

SILVERY RAILWAY ARCHITECTURE (Blow Up) Genius twisted pop. 4/5 This is the sophomore album from London’s Silvery, who do a brilliant line in weirded out, ‘70s new wave pop. Driven by swirling keyboards, their quirky Sparks meets XTC meets David Bowie is classically English and has been gathering them a string of fans from Mark Lamarr to Zane Lowe. Founder and singer-songwriter James Orman takes in a host of influences including ‘70s detective shows and historic machinery to produce a truly original pop masterpiece. Catch them on tour in October. John Damon

THERAPY? CROOKED TIMBER DELUXE GOLD EDITION (DR2) Return to form for Ireland’s darkest power trio. 4/5 It’s hard to believe that Therapy? have been going nearly 20 years as it seems like only yesterday ‘Teethgrinder’ was all over Radio 1. Back then, they were touted as the next Nirvana but reached their short-lived commercial peak a few years later with ‘Troublegum’. They’ve since been plugging away to a loyal if slightly diminished hardcore following. This re-issue of 2009’s ‘Crooked Timber’ is a return to form, right up there with their classic early releases. The remixes that make this a ‘Deluxe Gold Edition’ may be superfluous to all but the most diehard fan but, this is the band at their most urgent, stripped down, darkest, Big Black influenced best and well worth getting if you’ve not bought a Therapy? album of late. Lee Cotterell

UNDERDOG MATCHLESS (Bridge Nine) Lost NY hardcore heroes ‘best of’ collection. 4/5 Back in the late ‘80s it looked like Underdog were going to become one of the mainstays of New York hardcore alongside the likes of Sick Of It All, Agnostic Front et al. Sadly, they imploded before that could happen. With a straight-up hardcore sound with elements of melodies and guitar solos thrown in, a strong link to the skateboard scene and insane live shows, their sound proves how powerful NYHC can be. Featuring 26 songs that include their 1985 and 1988 demos, as well as their 1989 ironically titled only full-length ‘The Vanishing Point’, this is a worthy addition to any hardcore fan’s collection. Ian Chaddock

VERBAL WARNING RED STAR RADIO (Platinum) Notts/Derbyshire old school punks kickin’ it ’77 style. 4/5 Originally formed back in the early ‘80s and rising from the ashes with a new line-up in 2005, these punk veterans unleash their first new album in four years in the form of the John Peel saluting ‘Red Star Radio’. Mixing humour and politics into their melodic old school punk sound, fans of the Ramones and the Dead Kennedys are sure to enjoy this, even if the Proclaimers cover is a little unnecessary. Still sounding fresh and invigorated with ‘Is It Too Soon’, ‘A Ploy Named Sue’ (on the covermount CD) and the ripping ‘Z List Celebrity’, you’ll be having as much fun as the band clearly are. Ian Chaddock

VICE SQUAD LONDON UNDERGROUND (Last Rockers) Bristol pin-up punx bring back the spirit of ‘77. 5/5 After realising their 2008 ‘Fairground For The Demented’ was too new school for release, punk rock originals Vice Squad headed back to the drawing board and whipped out this testament to their formative years. ‘London Underground’ finds the perfect medium between clean, crisp production values and street punk sardonicism, with each song unfurling like a whip and cutting the eardrum asunder. Arguably the grittiest release of the band’s 32 year career and with singer Beki Bondage’s switchblade vocals sharpened to lethality; the album proves that there’s still plenty of life in the old ‘Squad yet. Tom Williams

THE YOUNG VEINS TAKE A VACATION! (One Haven) Panic At The Disco offshoot. 2/5 Remember Panic At The Disco had a decent debut? Then on their next album they went a bit strange and Beatles-esque? Well, the Young Veins is basically a continuation of the latter. Former PATD members Ryan Ross and Jon Walker are at the forefront, creating a psychedelic, Beach Boys sound, sadly without any decent melodies. I get that the whole idea of this album is to sound laid-back, but it just comes across as soulless and repetitive. I can’t see this appealing to many classic PATD fans, but maybe that’s the point. The energy seems to have drained from the potentially great Ryan Ross. Disappointing. Hipsters may enjoy it though. Tracey Lowe